Went for a walk.
Idea for Proto Idiot artwork.
Review: Daniel Johnston, Space Ducks
In this edition of KATP I am reviewing two albums by artists at a similar point in their career arcs. Both began as promising talents, but remained obscure during their most critically acclaimed periods. In each case a documentary film brought them fame at last, but they have since struggled to reach their former artistic heights. The musicians in question are Daniel Johnston and Anton Newcombe (the man behind The Brian Jonestown Massacre). In this review, I am looking at the new Daniel Johnston album.
Daniel Johnston, subject of the 2005 film ‘The Devil and Daniel Johnston,’ has done far better out of his newfound fame than Anton Newcombe (see my review of The BJM’s new album). Whereas the spotlight appeared to shake Anton’s confidence, leading to a string of self-conscious and mediocre albums, Daniel’s career has thrived, garnering plaudits from all corners. Self-consciousness is not something Johnston does, and so it has been much easier for him to adjust to fame. His latest effort is a soundtrack album called Space Ducks, which is the accompaniment to an I-Phone app and a graphic novel. The project sees Daniel combining his work on all fronts with music, storytelling and art woven together.
It is a promising idea, but I’m afraid to say that the musical component has a few significant flaws. As I mentioned in opening, Johnston has not achieved the heights of his early career since ‘The Devil and Daniel Johnston’ brought mainstream recognition. Wide-eyed innocence and silliness worked well during his early years, but now there is something slightly creepy about an aging man singing about ducks from space and girls he would like to kiss. This is accentuated by his lisping delivery, which serves to remind one of the medications he is taking to control his schizophrenia. The best moments come when Johnston deals with different subjects, as on the moving ‘Sense of Humour,’ where he speaks of needing help and seeking friendship.
Another thing that has happened since his film appearance is that people have tried to make Johnston sound more acceptable to a mainstream audience. His vocals are less prominent in the mix, and he is surrounded by an accomplished band that plays by-the-numbers backing music for his songs. This is rather like taking a child’s drawing and putting it on display in a gold frame in the Tate. The quirkiness and the magic are lost, and (in my mind) it only makes Johnston’s weaknesses more prominent.
Johnston is not the only musician appearing on this soundtrack - there are several guest artists too, none of whom I know much about. The only quality they share is that they all have irritating voices and irritating lyrics. I am not sure if someone thought ‘hey, these guys have stupid voices too, they will go well with Daniel Johnston!’ but it simply doesn’t work. If I buy a Daniel Johnston album I want to hear his songs, not some alt-hipster alternative. After the first few listens I found myself skipping these tracks altogether.
Johnston’s own home-recorded music fits his style and so I found the hi-fi offerings on Space Ducks disappointing. There are still some really good songs on the album, and I am sure the graphic novel will be excellent; it’s just that the professionalising of Daniel Johnston detracts from what made him good in the first place. Having said that, it does seem to be selling more records, which supports Johnston and his family…so perhaps he is better off this way.
Review: De La Soul, First Serve
The Hip Hop group De La Soul first achieved fame in the late 80s with the release of ‘Three Feet High and Rising,’ which sold in large numbers due to its snappy production and catchy hooks. It is the only De La Soul record I own, so it was with keen anticipation that I played their newest effort, recorded some 23 years and 6 albums later.
The most notable difference is that De La Soul’s lyrics have changed, maturing from the nursery rhymes of the past to themes of success and aging. They talk about the difficulty of sustaining a creative career, and the tensions that arise between people working closely together. The motif of ‘the first serve’ comes up throughout, a short-hand for the ease with which you can do something when you’re innocent. However, they don’t ram the idea down your throat, and as with all good lyrics you can read into them what you will.
Musically things have changed too, although for slightly different reasons. In the intervening years since ‘Three Feet High and Rising’ the technology for creating beats and loops has progressed, which is reflected in the richer musical backing of ‘First Serve.’ Luckily, De La Soul keep their compositions simple, allowing the vocal interplay to stay centre-stage. This is important, because a denser style must have been tempting but would have been an unnecessary distraction.
Returning to the lyrical theme, I think that this record might have a somewhat limited appeal. It is rather like a novel about a novelist, which might have meaning for other writers, but can ostracize a wider audience. Perhaps this is why De La Soul are sometimes described as alternative hip hop; they make music that appeals to other musicians, and those with a intellectual interest in the genre.
I am not a connoisseur of hip hop, but I have certain records that I will play when the mood takes me. De La Soul’s first effort is one of these, because of its infectious charm. While I am not sure that ‘First Serve’ has broken into this group, it is one that I am going to return to, and one that I would recommend to other people. It is intelligent, accomplished and - most importantly of all - entertaining.
Idea for a Proto Idiot cover.
Cover I did for a comp I made.
